The Merchant of Venice Act-1 Scene-1 (Lines 1 - 21) Notes

The Merchant of Venice Act-1 Scene-1 (Lines 1 - 21) Notes 

I) In sooth, I know not.........................................much ado to know myself.

1. Where are Antonio and his friends? What does Antonio say about his

sadness?

Antonio and his friends are in a street in Venice. Antonio says that his

sadness makes him depressed and dull. He further says that he is yet to learn about

the origin and nature of his sadness.

2. Give the meaning of:

(a) whereof it is born:

(b) a want-wit.

(c) That I have much ado to know myself:

(a) whereof it is born: how it originated.

(b) a want-wit : a dull person.

(c) That I have much ado to know myself: That I have much difficulty in

recognising myself.

3. What reason does Salarino give as the probable cause of Antonio's

melancholy?

Salarino tells Antonio that he is sad because his mind is preoccupied with

his ships filled with cargo, which are out at sea.

4. State in your own words the scene on the ocean as described by Salarino

when Antonio's ships were sailing?

Salarino compares Antonio's ships sailing on the waves with the great lords

and wealthy citizens, who look down on lesser men as they walk along the street.

He says that compared to smaller ships, Antonio's ships move swiftly on the sea

with their canvas sails and look like grand spectacles or pageants of the sea.

5. The play begins in an atmosphere of melancholy. Why do you think that

Antonio is presented as a melancholic and passive character?

Antonio is presented as a melancholic and passive character mainly for

three reasons. Firstly, by portraying Antonio as a whimsical person, who is least

bothered about the consequences of his actions, justifies his signing the bond-

agreement. Secondly, Antonio's melancholy creates a tragic atmosphere suitable

for the play. Thirdly, Antonio's melancholy creates a sense of mystery for the

audience.

II) Believe me, sir.................................................... Would make me sad.

1) Where would Salanio's attention be if he had business ventures abroad? Why

would he be 'Plucking the grass'? What else would he be doing in that context?

If Salanio had business ventures abroad, his thoughts would be fixed on the

dangers to his ventures and methods of securing them. He would be plucking the

blades of grass and casting them in the air to see which way the wind blew, to see

if it was blowing in a direction favourable to the course of his ships or not.

Further, he would look into maps for harbours, channels and open road-steads

near to the shores where his ships could be anchored in case of need.

2) What would make Salanio fear some danger to his ventures? Give two

examples from the opening scene to show how some objects remind Salarino of

the danger to the ships.

Every object that might suggest disaster to his business ventures would

undoubtedly make Salanio feel sad. Two examples which reminded Salarino of

the danger to his ships were: (a) The act of cooling his soup by blowing on it,

reminded him of the stormy winds at sea causing terrible damages to his ships.

(b) The sandy hour-glass reminded him of the richly laden vessels wrecked on

the sandy shore.

3)Give the meaning of: Plucking the grass to know where sits the wind.

Plucking of grass and casting them in the air to see which way the wind

blew.

4)In spite of the danger to his ships, why is Antonio not worried about his

financial security?

Despite danger to his ships, Antonio is not worried about his financial

security because his business is neither dependent on any one ship nor on any

single location or commercial transactions of the current year.

5) What light does the opening scene throw on the danger that the sea could

pose to ships?

The opening scene describes the possible dangers that the sea could pose

to ships such as strong winds, dangerous shallow waters, sand banks and

dangerous rocks.

The Merchant of Venice Act 1 Scene 1 lines(22-58) - notes

The Merchant of Venice Act 1 Scene 1 lines(22-58)

3) My wind cooling my broth,............................ to kiss her burial.

1.Where does this scene take place? Name the people who are present

there. In what mood is Salarino in this scene?

This scene takes place in a street of Venice. Antonio, Salarino and

Salanio are present in the scene. Salarino is in a talkative mood and

wants to know the reason for Antonio's melancholy. He says that he too

would be feeling melancholic if his ships were sailing on the sea.

2. What would the wind cooling the broth remind Salarino of?

It would remind Salarino of the stormy winds at sea and of the terrible

damages they might cause to the ships.

3. Give the meaning of:

And see my wealthy Andrew docked in sand...................... to kiss her

burial

Wealthy Andrew refers to a Spanish ship called Andrew captured by the

British sailors in 1596. It ran aground when it was being brought to

England. Since then, Andrew refers to a big cargo ship. In the above lines

Salarino imagines that his rich cargo ship is grounded in sand and her

mast dipped down lower than her sides as if trying to kiss the sands that

surround her.

4. What is the 'Sandy hour- glass’? What would it remind Salarino of?

Sandy hour-glass is an apparatus used to indicate time. It would remind

Salarino of the dangers from hidden banks of sand at sea on which a

ship may run aground.

5. When Salarino would go to church what would he see? What would

the scene make him imagine?

Salarino refers to his richly laden ship as wealthy Andrew. It is so

referred because Salarino feels that like the Spanish ship Andrew

captured by the British in 1596, his ship too is majestic and rich with

cargo.

6. When Salarino would go to church what could he see? What would

the scene make him imagine?

When Salarino would go to church he would see the holy building made of

stone. This scene would make him think of the perilous rocks of the sea

and imagine that a collision of his ship with these rocks would be sufficient

to break his vessel into pieces and scatter on the sea all her spices and

silks.

4) Not in love neither? Then let us say you are sad.................... jest be

laughable

1.Who has just said that Antonio was in love? What was the reaction

of Antonio to that remark?

Salarino has just said that Antonio was in love. Antonio calls the

remark as nonsense and completely denies that he is in love.

2.Antonio says that he is not sad because of love. What explanation

does Salarino give in the extract for Antonio's sadness?

Salarino concludes that Antonio is sad because he is not happy. He

remarks that there are some curious creatures in the world. He

swears by Janus, the two-headed Roman God that some people have

merry natures and are continuously laughing whether the things they

see are subject for mirth or not. Again there are others with the

sourest countenance who will not laugh at any thing though the

gravest old warrior Nestor himself confirms the joke as most

amusing.

3.What is meant by the ' two- headed Janus Why is he referred to in

the extract?

Janus is a Roman God usually depicted with two heads looking in

opposite directions, one frowning and the other smiling. He had

received from God Saturn, the gift to see both the past and the

future. He is referred to in the extract to show that there are two

types of people- one happy and the other sad.

4. Describe in your own words the two types of strange fellows who

have been framed by nature.

Nature has framed two types of people. The first type have happy

natures and often laugh even if the subject of laughter is too trivial

.The second are those with serious and grave faces, who do not

laugh even at the most amusing jokes.

5.Who is Nestor? Why he is referred to in the extract?

Nestor was the King of Pylos. He was one of the greatest generals in

the Trojan War. He was famous for his wisdom, justice, knowledge of

war and profound gravity. If he laughed, it meant the joke was really

funny. He is referred to in the extract to describe the sad and grave

people.

6.Give the meaning of:

a)And the other of such vinegar aspect.

b) Though Nestor swear the jest be laughable.

a) The second type of people who are grave and serious.

b) Even if the wise and grave Nestor certify the joke as funny.

7.Why are a class of people compared to Parrots?

A class of people are compared to parrots because they laugh even at

a bag-piper as foolishly as a parrot laughs at anything.

8.Who comes at the end of Salarino's speech ? Why does Salarino

leave then?

Bassanio, Gratiano and Lorenzo come at the end of Salarino’s speech.

Salarino leaves Antonio then because Antonio's friends,

Bassanio,Gratiano and Lorenzo have come to give him company.

Merchant of Venice - ACT 1 Scene 1 Lines 87-97 notes

Merchant of Venice ACT 1- Scene -1 (Lines 87-97)

 

V) Why should a man, whose, blood is warm within,

.....................And when I ope my lips, let no dog bark! (lines)

 

1)    Why is a young man compared to' his grandsire cut in alabaster? Under what condition is he likely to be infected with jaundice?

Gratiano gives the example of a warm - blooded young man who represses his spirits and forces himself to stillness till he looks like the marble image of his grandfather. He does so to advice Antonio not to remain in melancholy. He is likely to be infected with jaundice due to his bad temper.

2)    Give the meaning of:

a)    Do cream and mantle like a standing pond:

b)     do a willful stillness entertain:

a) Some men overcast their faces with a pale expression as unchanging as the cream that forms on the surface of milk and as the scum that forms on the surface of a stagnant pool.

b) Maintain an obstinate silence not to disturb the solemnity of their faces.

3)    What is said in the extract about the people who try to earn a reputation for wisdom?

In the extract, Gratiano speaks about people who try to obtain a reputation for wisdom, seriousness and deep thought by remaining silent. Such people mean to say that they speak with the authority of the Greek Oracle and they alone are infallible in their utterances. When they speak, other should keep quiet.

4)    What is meant by 'I am Sir Oracle' and ' let no dog bark'?

'I am Sir Oracle' means 'I speak with the authority of the Greek Oracle’. The Greek Oracles made known the will of God and we're received by all without questions.

'Let no dog bark' means 'let no one speaks’. It refers to the attitude of those wise men who consider themselves as the fountain of wisdom and want that when they speak, others should remain silent.

5)     What advice does Gratiano give to Antonio at the end of his speech?

At the end of the speech, Gratiano advices Antonio not to be one of those who try to gain reputation for wisdom by being silent. He further tells Antonio not to use melancholy as a bait to win the reputation of wisdom and cheap popularity, which is like a worthless cheap fish, a gudgeon.

The Merchant of Venice by William Shakespeare (line by Line Explanations)

A Merchant vessel of the earst century

The Merchant of Venice by William Shakespeare (line by Line Explanations)

Characters 

Shylock
A Jewish moneylender in Venice. Angered by his mistreatment at the hands of Venice’s Christians, particularly the merchant Antonio, Shylock schemes to get revenge by ruthlessly demanding a pound of Antonio’s flesh as penalty for Antonio’s defaulting on a loan. The Christian characters in the play regard Shylock as an inhuman monster, frequently mocking him for being obsessed with money. In person, however, Shylock comes across as far more than a caricature or stereotype. His resentment at his mistreatment, his anger at his daughter’s betrayal, and his eloquent expressions of rage make him a convincing, entirely human character.

Portia
A wealthy heiress from Belmont. Portia’s beauty is matched only by her intelligence. Bound by a clause in her father’s will that forces her to marry whichever suitor chooses correctly among three caskets, Portia nonetheless longs to marry her true love, Bassanio. Far and away the cleverest of the play’s characters, Portia disguises herself as a young male law clerk in an attempt to save Antonio from Shylock’s knife.

Antonio
The merchant whose love for his friend Bassanio prompts him to sign Shylock’s contract and almost lose his life. Antonio is something of a mercurial figure, often inexplicably melancholy and, as Shylock points out, possessed of an incorrigible dislike of Jews. Nonetheless, Antonio is beloved of his friends and proves merciful to Shylock, albeit with conditions.

Bassanio
A gentleman of Venice and a kinsman and dear friend to Antonio. Bassanio’s love for the wealthy Portia leads him to borrow money from Shylock with Antonio as his guarantor. An ineffectual businessman, Bassanio nonetheless proves himself a worthy suitor, correctly identifying the casket that contains Portia’s portrait.

Gratiano
A friend of Bassanio’s who accompanies him to Belmont. A coarse and garrulous young man, Gratiano is Shylock’s most vocal and insulting critic during the trial. While Bassanio courts Portia, Gratiano falls in love with and eventually weds Portia’s lady-in-waiting, Nerissa.

Jessica
Although she is Shylock’s daughter, Jessica hates life in her father’s house and elopes with the young Christian gentleman Lorenzo. Launcelot jokingly calls into question what will happen to her soul, wondering if her marriage to a Christian can overcome the fact that she was born a Jew. We may wonder if her sale of a ring given to her father by her mother isn’t excessively callous.

Lorenzo
A friend of Bassanio and Antonio. Lorenzo is in love with Shylock’s daughter, Jessica. He schemes to help Jessica escape from her father’s house and eventually elopes with her to Belmont.

Nerissa
Portia’s lady-in-waiting and confidante. Nerissa marries Gratiano and escorts Portia on Portia’s trip to Venice by disguising herself as Portia’s law clerk.

Launcelot Gobbo
Bassanio’s servant. A comical, clownish figure who is especially adept at making puns, Launcelot leaves Shylock’s service in order to work for Bassanio.

The prince of Morocco
A Moorish prince who seeks Portia’s hand in marriage. The prince of Morocco asks Portia to ignore his dark complexion and seeks to win her by picking one of the three caskets. Certain that the caskets reflect Portia’s beauty and stature, the prince of Morocco picks the gold chest.

The prince of Arragon
An arrogant Spanish nobleman who also attempts to win Portia’s hand by picking a casket. Like the prince of Morocco, however, the prince of Arragon chooses unwisely. He picks the silver casket, which gives him a message calling him an idiot rather than offering him Portia’s hand.

Salarino
A Venetian gentleman, and friend to Antonio, Bassanio, and Lorenzo. Salarino is often almost indistinguishable from his companion Solanio.

Solanio
A Venetian gentleman, and frequent counterpart to Salerio.

Salerio
A Venetian gentleman and messanger. Salerio returns with Bassanio and Gratiano for Antonio’s trial.

The Duke of Venice
The ruler of Venice, who presides over Antonio’s trial. Although he is a powerful man, the state he rules depends on respect for the law, and he is unable to bend the law to help Antonio.

Gobbo
Launcelot’s father, also a servant in Venice.

Tubal
A wealthy Jew in Venice and one of Shylock’s friends.

Doctor Bellario
A wealthy Paduan lawyer and Portia’s cousin. Although Doctor Bellario never appears in the play, he gives Portia’s servant the letters of introduction needed for Portia to make her appearance in court.

Balthazar
Portia’s servant, whom she dispatches to get the appropriate materials from Doctor Bellario.

Stephano
A messenger who works for Portia.

Leonardo
One of Bassanio’s servants.

Act 1 Scene 1

Original Shakespearian text 

Enter ANTONIO, SALARINO, and SOLANIO
ANTONIO In sooth, I know not why I am so sad. It wearies me; you say it wearies you. But how I caught it, found it, or came by it, What stuff ’tis made of, whereof it is born, I am to learn. And such a want-wit sadness makes of me, That I have much ado to know myself.
SALARINO Your mind is tossing on the ocean, There, where your argosies with portly sail, Like signors and rich burghers on the flood— Or, as it were, the pageants of the sea— Do overpeer the petty traffickers That curtsy to them, do them reverence As they fly by them with their woven wings.
SOLANIO Believe me, sir, had I such venture forth, The better part of my affections would Be with my hopes abroad. I should be still Plucking the grass to know where sits the wind, Peering in maps for ports and piers and roads. And every object that might make me fear Misfortune to my ventures out of doubt Would make me sad. SALARINO     My wind cooling my broth Would blow me to an ague when I thought What harm a wind too great at sea might do. I should not see the sandy hourglass run, But I should think of shallows and of flats And see my wealthy Andrew docked in sand, Vailing her high top lower than her ribs To kiss her burial. Should I go to church And see the holy edifice of stone And not bethink me straight of dangerous rocks, Which, touching but my gentle vessel’s side, Would scatter all her spices on the stream, Enrobe the roaring waters with my silks, And, in a word, but even now worth this, And now worth nothing? Shall I have the thought To think on this, and shall I lack the thought That such a thing bechanced would make me sad? But tell not me. I know Antonio Is sad to think upon his merchandise. ANTONIO Believe me, no. I thank my fortune for it— My ventures are not in one bottom trusted, Nor to one place, nor is my whole estate Upon the fortune of this present year. Therefore my merchandise makes me not sad. SOLANIO Why then, you are in love. ANTONIO     Fie, fie! SOLANIO Not in love neither? Then let us say you are sad Because you are not merry—and ’twere as easy For you to laugh and leap and say you are merry Because you are not sad. Now, by two-headed Janus, Nature hath framed strange fellows in her time. Now in plain English the explanation text  ANTONIO, SALARINO, and SOLANIO enter. ANTONIO To be honest, I don’t know why I’m so sad. I’m tired of it, and you say you’re tired of it too. But I have no idea how I got so depressed. And if I can’t figure out what’s making me depressed, I must not understand myself very well. SALARINO You’re worried about your ships. Your mind is out there getting tossed around on the ocean with them. But they’re fine. They’re like huge parade floats on the sea. They’re so big they look down on the smaller ships, which all have to bow and then get out of the way. Your ships fly like birds past those little boats. SOLANIO Yes, believe me, if I had such risky business ventures in other countries, I’d be sad too. I’d worry about it every second. I’d constantly be tossing blades of grass into the air to find out which way the wind was blowing. I’d be peering over maps to figure out the best ports, piers, and waterways. Everything that made me worry about my ships would make me sad. SALARINO I’d get scared every time I blew on my soup to cool it, thinking of how a strong wind could wipe out my ships. Every time I glanced at the sand in an hourglass I’d imagine my ships wrecked on sandbars. I’d think of dangerous rocks every time I went to church and saw the stones it was made of. If my ship brushed up against rocks like that, its whole cargo of spices would be dumped into the sea. All of its silk shipments would be sent flying into the roaring waters. In one moment I’d go bankrupt. Who wouldn’t get sad thinking about things like that? It’s obvious. Antonio is sad because he’s so worried about his cargo. ANTONIO No, that’s not it, trust me. Thankfully my financial situation is healthy. I don’t have all of my money invested in one ship, or one part of the world. If I don’t do well this year, I’ll still be okay. So it’s not my business that’s making me sad. SOLANIO Well then, you must be in love. ANTONIO Oh, give me a break. SOLANIO You’re not in love either? Fine, let’s just say you’re sad because you’re not in a good mood. You know, it’d be just as easy for you to laugh and dance around and say you’re in a good mood. You could just say you’re not sad. Humans are so different.